Like his jazz-loving, piano-playing father, Kyle Eastwood is an enthusiast who thinks jazz is for sharing rather than strutting, and who stays close to the music's holy writ. Bassist Eastwood lives in London now, and has gathered around himself a sparky collection of younger players with whom he's about to record an album of standards and originals.

Eastwood played Fulham's 606 Club on Monday - the same night the bass giant Stanley Clarke was opening at Ronnie Scott's - making for a comparison that was both unfair and fascinating. Clarke plays the daylights out of any kind of bass, acoustic or electric, and a combination of technique and technology gives him a sound that could cut through a football crowd. Eastwood is quiet, his playing for the most part a traditionally supportive murmur. But the music from his bright quintet, including the excellent Ben Castle on tenor sax and the uneven but fitfully inspired Graeme Flowers on trumpet, was delivered with a quiet relish as effective as any stadium-jazz hollering. A guest appearance by the powerful, emotionally subtle singer-pianist Liane Carroll enhanced the sensation of heartfelt craftsmanship.

The band took off on Charlie Parker's Billie's Bounce - driven by the clattery but purposeful drumming of Troy Miller - with Flowers building a punchy trumpet solo from probing beginnings to shrill climaxes and Ben Castle shaping a tenor break of rugged logic. Miller put a scattering of provocative rimshots beneath Andrew McCormack's piano musings, and sustained a fierce smack of a funk pulse under Carroll's ecstatic account of Peggy Lee's Fever. Her triumphant reappraisal embraced dark musings, gliding jazzy scat and whooping falsettos. Pee Wee Ellis's funk classic The Chicken was a little quick, forcing the horns to rush the emphatic bridge parts, but Herbie Hancock's Canteloupe Island elicited some delicious variations from McCormack. A modestly vivacious outfit, worth tracking on its way.